Walter Salles
On The Road

THE REVIEW

Bringing "On the Road" by Jack Kerouac to the screen was not easy for two reasons: one, because "On the Road" is still a manifesto of a generation that changed contemporary art, making it more alive and real; second, because there is the risk of falling into the usual cinematic clichés concerning travel and male friendship.

Walter Salles and Jose Rivera, the screenwriter, succeeded quite well in recreating the magic and uniqueness of Kerouac's work, keeping the flame burning with the same intensity as fifty-five years ago. Of course, like any novel adaptation, there have been some narrative liberties (such as the alleged relationship between Dean and Carlo Marx—not mentioned in the book—like Dean's second life as a gigolo and hustler, somewhat out of place, more '60s caricature than early '50s), but the two most important things in the novel, namely the theme of travel seen as synonymous with freedom, with life, and the male friendship between Sal Paradise and Dean Moriarty, have been treated with sharp fidelity, especially the latter (I had read that FF Coppola, the film's producer, said no in the past to Gus Van Sant because he wanted to render the friendship between the two with a homosexual undertone).

Other wise choices were putting the artists above drugs, alcohol, and free sex (and not as almost everyone does when talking about the Beat Generation) and the cinematography, stunning in the winter scenes. Minor performances by Kirsten Dunst, Viggo Mortensen, and Steve Buscemi. Do not dismiss Salles the director, truly talented. The final sequences are probably the best (especially the last one where Sal/Jack Kero begins to write the novel).

If this review made you ask yourself "should I go?", think of one of the book's famous phrases: ""where are we going, friend?" "I DON'T KNOW, BUT WE HAVE TO GO". Those who have never read either "On the Road" or Kerouac will now have a good reason to do so. And to burn like magnificent fireworks.